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Hautopp, Heidi. "Combining graphic facilitation and animation-based sketching in higher education." Drawing: Research, Theory, Practice 8, no. 2 (2023): 179–99. http://dx.doi.org/10.1386/drtp_00114_1.
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This paper explores how non-design students can benefit from using visual methods as part of collaborative group processes in higher education. Based on an exploratory study, the paper analyses how analogue hand drawing in graphic facilitation combined with animation-based sketching can support humanities students in higher education to take on the role of designer. The empirical data is based on a course in a bachelor’s degree in communication and digital media in which students were tasked with designing an event for a museum. The students were not especially trained in using graphic facilitation or animation-based sketching methods as academic tools prior to this course. Thus, the educational approach incorporated two workshops in which the students were introduced to these visual methods and design approaches. Through visual examples, the students’ experiences are analysed in relation to their view on how these methods benefited or challenged their ways of working throughout the course. The paper ends by summarizing how visual methods can be considered relevant to academic practices beyond design courses.
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Mrozewicz, Anna Estera. "Cinema as a safe vessel: Jonas Poher Rasmussen’s Flee." Journal of Scandinavian Cinema 13, no. 3 (2023): 301–23. http://dx.doi.org/10.1386/jsca_00099_1.
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The article discusses strategies adopted in Jonas Poher Rasmussen’s feature-length animated documentary Flee (2021) for crossing the cultural and emotional distance between audiences and the refugee protagonist Amin. Focus is on a central scene in which a group of Afghans sailing across the Baltic Sea in the early 1990s encounters a cruise ship from Norway, the crew of which reports the refugees to the authorities. Juxtaposing the scene with a historical cornerstone of non-fiction animation, The Sinking of the Lusitania (1918), and drawing on theories developed within the blue humanities, I argue that Flee attempts to remind today’s White western audiences that their position as ‘dry’ subjects – safely elevated above sea level, socially privileged and seemingly self-sufficient – is not a given. While destabilizing the targeted audiences’ assumptions of safety and encouraging (a politics of) listening, Flee seeks to serve as a ‘safe vessel’ for Amin. It does so through the dialogic treatment of its documentary subject and its drifting storytelling, and by offering an audio-visual alternative to the dominant contemporary media depictions of people fleeing across the Mediterranean.
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Lagarde, Patricia. "Sculpting with the Sun." Latin American and Latinx Visual Culture 5, no. 3 (2023): 32–49. http://dx.doi.org/10.1525/lavc.2023.5.3.32.
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In the ancient Peruvian highlands, architecture and sculpture were inextricably linked to the mountainous Andean landscape. The character of light in this environment and how it illuminates architectural sculpture can fundamentally alter the way we perceive these objects. The dimensionality and placement of the tenon heads and cornice stones at Chavín de Huántar offer a unique opportunity to understand the role of the natural environment within architectural programs. Through a discussion of the sun’s role in casting dramatic shadows in the stones at Chavín, this article shifts our focus from object to shadow and demonstrates the powerful visual effects intended for individuals approaching the site. Utilizing the strong highland sun, sculptors leveraged the shadow-producing effects of these three-dimensional pieces to create spectacularly ornamented buildings. Although these vistas are lost today, archival photographs provide glimpses of the original perspectives. The sun generated movement of otherwise static sculptures, animating the heads mounted within the walls. Utilizing phenomenology of light, this paper positions the sculptures at Chavín within a cross-cultural dialogue on the role of natural light in the built environment. Together, the sculptures with their shadows animated the structure and focused the viewer’s attention on the monument from afar.
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Griffin, George. "Concrete Animation." Animation 2, no. 3 (2007): 259–74. http://dx.doi.org/10.1177/1746847707083421.
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Fleisch, Thorsten. "Borderline Animation." Animation 4, no. 2 (2009): 191–202. http://dx.doi.org/10.1177/1746847709104648.
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Hosea, Birgitta. "Drawing Animation." Animation 5, no. 3 (2010): 353–67. http://dx.doi.org/10.1177/1746847710386429.
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Wolfe, Graham. "Biopolitical Animation." Performance Research 27, no. 1 (2022): 122–30. http://dx.doi.org/10.1080/13528165.2022.2092304.
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Zhuang, Muyang. "Animation of Experiment: The Science Education Film and Useful Animation in China." Animation 18, no. 2 (2023): 152–66. http://dx.doi.org/10.1177/17468477231182914.
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From the early 1950s to the mid-1990s, the People’s Republic of China (PRC) produced numerous science education films. Many utilized animated effects, such as illustrations, maps and cartoons, to promote the reception of scientific knowledge and ideological messages by audiences. Current scholarship on Chinese animation history stresses films made by the Shanghai Animation Film Studio, neglecting animation created by filmmakers in science education film studios. In this article, the author argues that the history of useful animation in science education films provides a different approach to understanding Chinese animation as the animation of experiment. Animation functioned as scenes of experiment that enabled science education films to deliver messages of knowledge; they also inspired amateur experiment with animated filmmaking and experimental animation practices in the post-socialist era. This article analyses animation for science education films, amateur animation practices and experimental works inspired by, or that benefited from, science education filmmaking. It will enrich the scholarship on Chinese animation and shed new light on the history of Chinese animation and film culture in the PRC.
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Gaudreault, André, and Philippe Gauthier. "Special issue: Could Kinematography be Animation and Animation Kinematography?" Animation 6, no. 2 (2011): 85–91. http://dx.doi.org/10.1177/1746847711408232.
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Herhuth, Eric. "The Politics of Animation and the Animation of Politics." Animation 11, no. 1 (2016): 4–22. http://dx.doi.org/10.1177/1746847715624581.
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Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation." Animation 15, no. 3 (2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.
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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.
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Limano, Ferric. "Barong Bali Performing Arts: A Study Case of Dance Motion Pattern." Humaniora 13, no. 1 (2022): 1–7. http://dx.doi.org/10.21512/humaniora.v13i1.7344.
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The research aimed to save the traditional Balinese Barong dance motion patterns and convert them into digital animation. Using the mask was a uniqueness and as one of the characteristics of the traditional dance. Some problems arose in today's global situation: the challenge of eroding local society cultures to be replaced by global cultures. Another factor was the new generation, who loved technology and digitization. The research showed how to make traditional art that had recommendations in new digital media 3D animation. This was necessary to increase interest for the new generation about traditional culture and the creation of digital archives that were easily accessible to learn and develop in this traditional culture. The method was applied qualitatively through approach practice-led research by making experimental data on the dance motion pattern of the head of Barong Bali. Then observations were made and described in animation science, resulting in an academic understanding of motion and 3D digital media production. The results of the research consist of Barong Bali motion pattern in 3D, descriptive explanation of movement patterns, and the process of creating 3D animation digital archives. All of this is expected as recommendations for ways to produce digital archives 3D Animation of another Indonesian traditional culture.
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Beckman, Karen. "Animation on Trial." Animation 6, no. 3 (2011): 259–75. http://dx.doi.org/10.1177/1746847711416568.
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This article first considers Kota Ezawa’s video installation, The Simpson Verdict within the broader context of the rising interest in animation on the contemporary art landscape. After exploring three trends within this proliferation of artists’ animation – works that animate moments from film history, works that animate ‘reality’, and works that use popular media such as cartoons, television and video games as source material, this article examines the difference between Ezawa’s work, which re-draws already overexposed live footage, and those documentaries that use animation as a supplementary visual tool when live footage does not and/or could not exist.
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Pagès, Maria. "The Golden Age of Spanish Animation (1939–1951)." Animation 15, no. 1 (2020): 37–60. http://dx.doi.org/10.1177/1746847719898851.
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During the 1940s, the Spanish animation industry based in Barcelona reached a high technical level. Despite the Franco dictatorship and austerity following the Spanish Civil War, the Catalan animation industry produced feature-length films that bore comparison with those made elsewhere in Europe. This article looks at the reasons for and the nature of Barcelona’s Golden Age of Animation, and follows the steps on the industry’s path to technical mastery. The author revisits the history of the Spanish Golden Age of Animation (which lasted from 1939 to 1951) in the context of the international animation scene at the time.
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Sabiston, Bob. "Bob Sabiston in Conversation with Paul Ward." Animation 7, no. 1 (2011): 73–82. http://dx.doi.org/10.1177/1746847711429630.
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Bob Sabiston has been working in animation since the 1980s, when he studied at the Media Lab at Massachusetts Institute of Technology. In this conversation with Paul Ward, he talks about his development of the software with which he is most associated, the digital rotoscoping program Rotoshop, as well as the artists and animators who have influenced him. Central to Sabiston’s work is an interest in the everyday and how animation can capture and creatively treat it. Any discussion of animation and realism, or animation and documentary, arguably has to engage with his work. Rotoshop’s often misunderstood status as a form of image filtering rather than a sophisticated form of digital mark-making means it also goes right to the heart of debates about how we define animation, what constitutes ‘proper’ animation (as opposed to some form of ‘short cut’) and how we view different kinds of animation labour. Although Sabiston is most associated with Rotoshop films, he is also active in the development of software for other platforms.
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Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.
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The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the primary focus on the lectures, this article introduces Kuleshov’s contribution to animation theory and production, and suggests that Kuleshov’s legacy not only sheds light on the historically specific situation in animation production characteristic for the Soviet Union in the 1930s, but also facilitates a deeper understanding of the animated image as a phenomenon.
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Ehrlich, Nea. "The Animated Document: Animation’s Dual Indexicality in Mixed Realities." Animation 15, no. 3 (2020): 260–75. http://dx.doi.org/10.1177/1746847720974971.
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Animation has become ubiquitous within digital visual culture and fundamental to knowledge production. As such, its status as potentially reliable imagery should be clarified. This article examines how animation’s indexicality (both as trace and deixis) changes in mixed realities where the physical and the virtual converge, and how this contributes to the research of animation as documentary and/or non-fiction imagery. In digital culture, animation is used widely to depict both physical and virtual events, and actions. As a result, animation is no longer an interpretive visual language. Instead, animation in virtual culture acts as real-time visualization of computer-mediated actions, their capture and documentation. Now that animation includes both captured and generated imagery, not only do its definitions change but its link to the realities depicted and the documentary value of animated representations requires rethinking. This article begins with definitions of animation and their relation to the perception of animation’s validity as documentary imagery; thereafter it examines indexicality and the strength of indexical visualizations, introducing a continuum of strong and weak indices to theorize the hybrid and complex forms of indexicality in animation, ranging from graphic user interfaces (GUI) to data visualization. The article concludes by examining four indexical connections in relation to physical and virtual reality, offering a theoretical framework with which to conceptualize animation’s indexing abilities in today’s mixed realities.
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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.
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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.
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Fong, Byron. "Animating for Interactivity: The Walk Cycles of Prince of Persia (1989) and Ninja Gaiden (1988)." Animation 18, no. 2 (2023): 117–33. http://dx.doi.org/10.1177/17468477231182910.
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This article uses the walk cycle to simultaneously place movement in video games within the history of animation, and to show how the walk cycle has been adapted for the video game medium. Dating back to the pre-cinematic toys of the 19th century, the walk cycle is an animation technique that depicts a character’s walking animation as a self-contained, reusable loop. Video games import this technique into a new context with different affordances. A comparative analysis of the video games Prince of Persia (1989) and Ninja Gaiden (1988) explores different methods of implementing the walk cycle and reveals a trade-off between verisimilitude of movement and responsiveness to user input. Prince of Persia’s walk cycle, inspired by full cel animation, foregrounds fluid movement, while Ninja Gaiden utilizes limited animation techniques to prioritize responsiveness. Thus, this article argues that interactivity becomes a site of tension between movement and responsiveness, with video games drawing on older forms of animation to negotiate this tension.
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Cubitt, Sean. "Rango, Ethics and Animation." Animation 12, no. 3 (2017): 306–17. http://dx.doi.org/10.1177/1746847717729605.
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Buchanan, Andrew. "Book review: Pervasive Animation." Animation 15, no. 1 (2020): 108–10. http://dx.doi.org/10.1177/1746847719900456.
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Torre, Dan. "Cognitive Animation Theory: A Process-Based Reading of Animation and Human Cognition." Animation 9, no. 1 (2014): 47–64. http://dx.doi.org/10.1177/1746847713519390.
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Mortimer, Jonathan, Nick Pilcher, and Kendall Richards. "Scotland’s History of Animation: An Exploratory Account of the Key Figures and Influential Events." Animation 16, no. 3 (2021): 190–206. http://dx.doi.org/10.1177/17468477211052598.
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Scotland’s history of animation is a forgotten past accomplishment in the animation/VFX sector, with key influential animation professionals having had an impact both at home and abroad. Yet, to date, this history has not been meaningfully documented and such documentation can help inform policy initiatives to help nurture and develop the industry. These developments could help ensure that the importance and accomplishments of its achievements will not be forgotten or remain undeveloped. Indeed, it is argued here that Scotland suffers from historical amnesia with regard to the country’s past accomplishments and missed opportunities, but that public funding and further investment in talent development and retention can help establish the industry as a key player in society and economy. This article presents the results from an investigative literature collection and consultation with central figures in the Scottish animation industry, providing for the first time a clearer picture of the importance of animation in Scotland both for the country and for the industry worldwide. Discussing the initiatives and funding models of other European countries such as France, the article concludes by suggesting ways in which future policy initiatives could help assist Scotland’s animation industry grow and establish itself both for the future development of animation in Scotland and worldwide.
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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.
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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.
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Wu, Jun, Jiede Wu, Chien-Wen Cheng, Chang-Chieh Shih, and Po-Hsien Lin. "A Study of the Influence of Music on Audiences’ Cognition of Animation." Animation 16, no. 3 (2021): 141–56. http://dx.doi.org/10.1177/17468477211052599.
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How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of music in animation. This study focuses on the popular form of sand animation and provides insights into audiences’ cognition differences and preferences in order to uncover the core factors. The findings are that: (1) the audience perceived more consistent and subtle differences in the use of musical instruments, rhythm cadence and video–audio fit; there were also obvious differences in the perceptions of vocal skills, performance skills and musical style as well as emotional transmission; (2) three aspects of the audiences’ evaluation of an animation were affected by music: creativity, cultural meaning and preferences. The seven elements that constitute animation music (use of orchestration, vocal skills, musical style, rhythm cadence, performance techniques, emotional transmission and video–audio fit) exerted varying degrees of influence on the audiences’ evaluation of the animation film. Amongst these, video–audio fit was found to be the most important element, as it simultaneously affected the audiences’ evaluation in terms of creativity, cultural meaning and preferences; (3) audiences of different ages and professional backgrounds showed significant differences in evaluating animation films in terms of creativity, culture and preference; and (4) differences in music had a significant impact on audiences’ perceptions and evaluations of 10 facets of animation films, including the story content, role identification and spiritual fit.
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Cook, Malcolm, Michael Cowan, and Scott Curtis. "Useful Animation: Iconography, Infrastructure and Impact." Animation 18, no. 3 (2023): 196–226. http://dx.doi.org/10.1177/17468477231207613.
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This article defines and explores the history of ‘useful animation’. Animation has found frequent application as a powerful practical and conceptual tool in professional fields requiring a versatile instrument for a variety of representational needs, from science and medicine to education and advertising. Today, forms of useful animation populate our television news, social media and urban environments in ways that are no less consequential for their having become second nature. But how did we get here? This tradition is distinct from entertainment or art and its investigation requires a revision of existing animation history, prompting new research questions and methodologies. This article presents such a framework for further work in this field. In doing so, it has three main aims. First, the authors establish the intellectual context and consider the historiographic implications of prior research in this area. Second, they ask three key theoretical research questions that can guide the investigation of the history of useful animation: How did useful animation build upon existing graphic traditions? What were the professional and institutional contexts for useful animation and how did these develop? and What impact did animation have on professional fields and their understanding of the world? Finally, the authors present three case studies from the first decades of film history that illustrate how these questions can be answered, and they suggest methods and research resources available to scholars of useful animation. These address Jean Comandon’s public health films in post-WWI France, animated maps made by the Austro-German Institut für Kulturforschung in the inter-war period and the animated film Unemployment and Money made in Britain illustrating Michael Polanyi’s economic theories in the 1930s. This article provides a basis for future research into this topic.
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Kim, Minhyoung. "Dong for Movements, Hua for Paintings: A Transdisciplinary Approach to Investigating Chinese Donghua." Animation 13, no. 3 (2018): 207–20. http://dx.doi.org/10.1177/1746847718809671.
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This article questions a longstanding definition of animation that lacks aspects of cultural diversity in part; it reexamines the socio-cultural formation of modern animation from less known regions of China and investigates Chinese animation known as donghua (动画). The goal is to demonstrate the transdisciplinary nature of donghua acquired through dynamic interactions in this heterogeneous site of production of visual culture in modern China. The author suggests a concept-based framework to more accurately describe animation in China composed of three specific dimensions of donghua: translinguality, transnationality and transmediality. To conclude, the author reveals that the study of donghua helps generate a more widely defined spectrum of the now divergent ‘cultural field’ of ‘animations’ and therefore leads to a ‘translocal imagining of animation’ appropriate for today’s increasingly mobile world.
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Telotte, JP. "Letting Go: Representation, Presentation, and Disney’s Art of Animation." Animation 14, no. 2 (2019): 132–48. http://dx.doi.org/10.1177/1746847719858159.
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This article considers two linked developments in Disney animation at a major point of change for the studio. One is the effort to craft a new ‘logistics of perception’ or way of seeing and appreciating Disney’s work in this period. Prompting that effort is the other, a shift from the studio’s early emphasis on realistic representation, or an ‘illusion of life’, to what might be termed a presentational approach that repackaged Disney animation and re-framed its experience. These developments, observed in episodes of the Disneyland TV series of the 1950s–1960s dedicated to ‘the art of animation’, anticipate the emergence of new styles in Disney animation and of a new approach to animation that would eventually be reflected in the development of audio-animatronics and theme parks.
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Christophini, Myria. "Into the Choppy Waters of Peace: An Inquiry into Peace- and Anti-Violence Animation." Animation 12, no. 2 (2017): 174–90. http://dx.doi.org/10.1177/1746847717708972.
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This article examines the use of animation for the purpose of peace-building. It does this by first examining key definitions of peace, and how these have been applied for matters of art. It appropriates these definitions for the specific context of animation, and uses case studies to illustrate how animation could be used in this context. The article concludes by supporting a participatory approach to animation for peace-building purposes. The values that drive the research derive from the paradigm of positive peace developed by Johan Galtung. These can be summarized as justice, equality, prosperity, non-violence, cooperation and solidarity.
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Huang, Jifeng. "A View of the Definition, Origination and Development of the Term ‘Chinese School of Animation’." Animation 17, no. 3 (2022): 318–33. http://dx.doi.org/10.1177/17468477221114366.
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This article clarifies the definition of ‘Chinese School of Animation’ and chronologically traces this term’s origination and development. The rise of the term ‘Chinese School’ was inspired by the Zagreb School of Animation. Chinese scholars generally define the Chinese School as a set of internationally award-winning films based on the collectivist discourse, which canonizes Chinese meishu films. The connotation of the Chinese School has kept changing in different times of China’s history, and the prevalence and decline of this term in Chinese animation studies are closely related to China’s cultural policies, nationwide nationalist thoughts, economic systems and its animation industry.
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Holmaas, Luke. "Implausible Possibility: Freedom and Realism in Live-Action/Animated Gag Comedies." Animation 18, no. 2 (2023): 102–16. http://dx.doi.org/10.1177/17468477231187029.
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While often unacknowledged, gags and gag comedy remain a vital part of Hollywood cinema. Following the runaway success of Who Framed Roger Rabbit (1988), an increase in the production of films combining live-action and animation has helped them become a central venue for gag comedy. However, while live-action/animation hybrids can be enormously successful, they are also extremely difficult and risky ventures, both in terms of their technical challenges and production costs. Given this, what is the rationale behind combining live-action and animation for comedy at all? As the author argues, both theoretical considerations of animation and hybrids as well as the discourse from creators of such films frame live-action/animation as particularly well suited for gag comedy due to its ability to balance the freedom of animation with the grounding realism of live-action. Films such as The Adventures of Rocky and Bullwinkle (2000), Looney Tunes: Back in Action (2003), and The SpongeBob Movie: Sponge Out of Water (2015) serve to highlight the interaction between cartoonish animation and realistic live-action as well as key tensions that arise in combining the two forms. Examining the opportunities and challenges provided by these combinations helps explain why hybrid films remain a common vehicle for gag comedy today and an important subset of Hollywood comedy as a whole.
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Cho, Joon-Hui. "Future of Performing Arts Specialized Animation Characters Theme Park." Journal of the Korea Contents Association 12, no. 9 (2012): 146–55. http://dx.doi.org/10.5392/jkca.2012.12.09.146.
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Fitria, Tira Nur. "Culture-based Animation: Inserting Indonesian Local Culture in Animation Series ‘Si AA’." Journal of Language and Literature 22, no. 2 (2022): 362–74. http://dx.doi.org/10.24071/joll.v22i2.3942.
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Indonesia offers many opportunities to use local culture’s potential in producing Indonesian animation. The greatest idea is to make an animation that is based on the characteristics of traditional or local arts from each region. This research analyzes the Indonesian local cultures inserted in the animation series Si Aa’ created by RANS Animation Studio. This research uses descriptive qualitative research. The documents are taken from 9 videos of the animation series “Si Aa” released in 2020 and 2021. The result analysis shows that there are 12 examples of Indonesian local culture in ‘Si Aa” animation series such as 1) Inserting a local language “Sundanese”, 2) Inserting local story (folklore) of Timun Emas, 3) Inserting regional Dance “Jaipong”, 4) Inserting regional musical instruments “Angklung”. 5) Inserting regional music instrument “Gamelan”. 6) Telling an Indonesian national hero “Kapitan Pattimura”. 7) Showing a palace building “Keraton”. 8) Inserting regional performing arts “Wayang Suket”. 9) Inserting regional Performing Arts “Ondel-ondel”. 10) Inserting traditional game “Gangsing”, 11) Inserting local handicraft “Tenun”, 12) Showing tourism place destination in Maluku, 13) Inserting local custom “Tandur”. Through animation, the creator conveys the local culture by recognizing and appreciating an Indonesian identity in their work. Initially, culture-based animation served simply as a means of Indonesian cultural preservation.
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Gowanlock, Jordan. "Animating Management: Nonlinear Simulation and Management Theory at Pixar." Animation 15, no. 1 (2020): 61–76. http://dx.doi.org/10.1177/1746847719898783.
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Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and behind-the-scenes promotional material. This article highlights how computational principles for creating and managing unpredictability via nonlinear simulation inform Pixar’s promoted management theory. The principles of simulated unpredictability ground many of Pixar’s key technological advances, especially for animating fluids and materials (water, smoke, fur, and cloth), but they also ground concepts within the field of management science such as industrial dynamics and organizational resilience. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters and this collapse of technology, animation, and management helps to sculpt Pixar’s own corporate image as both an animation studio and technology company. The research in this article offers contributions to the study of both post-Fordism in animation industries and algorithmic control.
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Wu, Weihua. "The Ambivalent Image Factory: The Genealogy and Visual History of Chinese Independent Animation." Animation 13, no. 3 (2018): 221–37. http://dx.doi.org/10.1177/1746847718807708.
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This article examines how the emergence, constitution and diversification of independent animation in mainland China was formed with minjian discourse and the rise of independent creativity over the past two decades. This was an era in which the animation mainstream was transformed from a primarily political discourse to a fully commercialized entity, while the aesthetic parodies and pastiches of an imaginary ‘Chineseness’ have undergone a renaissance within a power struggle between individuality and independency in animation practice.
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Lent, John A. "Animation in South Asia." Studies in South Asian Film & Media 1, no. 1 (2009): 101–17. http://dx.doi.org/10.1386/safm.1.1.101_1.
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Vidakovic, Lea. "Fragmented Narratives: Exploring Storytelling approaches for Animation in Spatial Context." International Journal of Film and Media Arts 6, no. 2 (2021): 7–27. http://dx.doi.org/10.24140/ijfma.v6.n2.01.
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Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where the narratives unfold. This paper will look at the historical perspective and the state of the art in animation installation today, exploring the relationship between the space and narrative in pre-cinematic, cinematic and post-cinematic conditions. It will examine how narrative structures in animation have changed over time, on their way from the black box of the cinema to the white cube of the gallery and even further, where they became part of any space or architecture. Through case studies of works by Tabaimo, Rose Bond, William Kentridge and other relevant artists, the interdependency of the narrative and the space where it appears will be explored, in order to identify new strategies for storytelling in animation. The aim of this paper is to emphasize the storytelling novelty that animation installations offer, which goes beyond the narrative structures that we are used to see on a single flat surface.
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Ward, Paul. "Independent Animation, Rotoshop and Communities of Practice: As Seen Through A Scanner Darkly." Animation 7, no. 1 (2011): 59–72. http://dx.doi.org/10.1177/1746847711428852.
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The article examines a particular instance of animation practice through a reading of how Bob Sabiston’s Rotoshop software was used in the 2006 film A Scanner Darkly. By discussing the notions of ‘communities of practice’ and ‘legitimate peripheral participation’, and contextualizing the film in relation to different modes of working, the author excavates the ways in which a range of people came to work on the project. Moreover, he outlines some of the production history of the film to argue that certain assumptions and expectations about accepted working practice point to wider perceptions of ‘independent’ and ‘studio’ animation. Questions of division of labour and standardization, and how they relate to creativity, autonomy and animation production will be addressed; Rotoshop’s position in the history of animation forms an interesting case study for interrogating these issues.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Voci, Paola. "Para-animation in Practice and Theory: The Animateur, the Embodied Gesture and Enchantment." Animation 18, no. 1 (2023): 23–41. http://dx.doi.org/10.1177/17468477231155543.
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Animateurs are characterized by liminality or, possibly more accurately, intersectionality, vis-à-vis the mainstream and the avant-garde. Their vernacular creative work points to hybrid genealogies that include analogue handmade cinema and performing arts, such as the magic lantern show, puppetry and shadow play. The author proposes that animateurs develop a distinctive practice and theory of animation that can be best understood as ‘ para-animation’, i.e. a liminal, nearby, or off idea of animation that critically expands theories of the moving image and media archaeology. In para-animation, the moving image is non-medium specific, freed from both the index and the virtual, as reality is not there to be (re)presented or remade, but instead to be reconnected with. Para-animation’s uncontainable and overflowing multimedia materialities challenge film’s representational and photographic genealogy and actualize the moving image as a key location for an alternative, both embodied and enchanted, experience of the modern world. In so doing, para-animation also reveals multidirectional – across times and places – connections between animateurs and other enchanters (inventors, prestidigitators, performers, storytellers), similarly crossing and morphing boundaries between technology and magic, representation and imagination, science and art, knowledge and pleasure. Referring to a selection of animateurs’ works, this article focuses on the embodied gesture of ‘the hand on-screen’ as one of the key modalities through which para-animation re-centres the body and allows for a simultaneously technologized and de-technologized re-enchanted experience of reality.
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Saber, Zeke. "Animating Goethe." Animation 18, no. 1 (2023): 7–22. http://dx.doi.org/10.1177/17468477231155546.
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Metamorphosis is frequently cited as an inherent feature of animation, but scholars who make this claim have routinely disregarded the influence of Goethean morphology on animation practice and theory. Johann Wolfgang von Goethe’s initial conception of morphology, as outlined in the late 18th and early 19th centuries, has had a significant effect on our understanding of the transformative nature of animation. In this article, the author engages with the theory and practice of figures including Sergei Eisenstein, André Bazin, Alla Gadassik, Caroline Leaf and others in order to insist upon animation’s critical but hitherto unacknowledged role in an ongoing history of morphological reception. Morphology’s sensitivity to the continuous coming-into-being of form allows us to think through, in newly productive ways, the intrinsic practices, aims and intimations of animation, not to mention the sometimes vexed discourse about its place in cinema studies.
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Betancourt, Manuel. "Animating History at a Cellular Level." Film Quarterly 75, no. 2 (2021): 76–79. http://dx.doi.org/10.1525/fq.2021.75.2.76.
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FQ columnist Manuel Betancourt, whose mother ran an animation studio in Colombia, reflects upon the diversity of contemporary Latin American animated production. Unlike in America, where animation has long been misunderstood as child’s play, an ever-growing network of Latin American creators refuse to see animation as beholden to family-friendly fare. Noting the didactic potential of this malleable medium, which is being used to educate children about everything from the Spanish conquest to modern-day environmental issues, Betancourt also calls attention to a growing animated canon bringing Indigenous traditions into the twenty-first century.
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Hagler, Juergen, and Remo Rauscher. "Chained Animation: Collaborative Forms of Filmmaking in Education." Animation 17, no. 2 (2022): 178–94. http://dx.doi.org/10.1177/17468477221092344.
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This article discusses experimental forms of collaborative filmmaking in education and introduces the pedagogical concept of Chained Animation. Animation filmmaking usually involves teamwork; production pipelines are traditionally linear and hierarchically structured, separated into direction (or artistic direction) and production teams. By contrast, Chained Animations are non-linear and based on a large group of animators working together at various levels. This concept is particularly well suited to education as it integrates all participants equally, from the idea phase all the way through to its realization. In addition to teaching basic animation principles, this experimental form of education goes beyond established methods of practising those principles. The educational concepts for Chained Animations follow different strategies and range from professional workflows to playful, experimental forms that emphasize participatory and collaborative aspects within large groups. In this article, the authors first examine participatory art practices; then they discuss experimental forms of collaboration in animation and education, using examples from art, film and science. This article examines different experimental approaches, challenges and findings, which are based on three case studies undertaken at the University of Applied Sciences Upper Austria, Hagenberg Campus – Home (2016), Utopia Now (2017) and Draft One (2018) – ultimately presenting guidelines for Chained Animation in education.
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Schmalzer, Madison. "Breaking The Stack: Understanding Videogame Animation through Tool-Assisted Speedruns." Animation 16, no. 1-2 (2021): 64–82. http://dx.doi.org/10.1177/17468477211025661.
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This article examines the ways videogames become animated by looking at gaming practices that subvert traditional notions of play: specifically tool-assisted speedruns (TAS). A TAS is a playthrough of a videogame that is preprogrammed by a human so that the inputs can be automatically played back in full without a human operator. This practice requires an intimate knowledge of the inner workings of gaming systems, often to the point of productively breaking the games through glitches and exploits. These extreme practices give a unique insight into the ways animation occurs within videogames and reveals games to be animated in a variety of ways that are often not primarily directed towards the visual nor humans. This article outlines four of these modes of animation separating them into multi-tiered ‘layers of animation’: sensory output, game states, code, material, and operator. TASs help to demonstrate these layers are actually discrete forms of animation that do not necessarily impact one another from becoming individually animated.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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Mc Hardy, Orla. "C: (Maintenance) Animation is a Drag: It takes all the f****** time*." International Journal of Film and Media Arts 6, no. 3 (2021): 85–95. http://dx.doi.org/10.24140/ijfma.v6.n3.06.
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Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexiveness and media specific histories can start to reveal where value is placed (and not placed) on the time of their shared invisible labours. Possibilities emerge from thinking these invisible labours together, revealing the problematics of what constitutes a rightful subject or object of mothering, and what can be said to constitute animation. * Mierle Laderman Ukeles. Maintenance Manifesto, 1969! Proposal for an exhibition “CARE,” 1969.
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Roe, Annabelle Honess. "Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary." Animation 6, no. 3 (2011): 215–30. http://dx.doi.org/10.1177/1746847711417954.
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This article gives an overview of the history of animated documentary, both in regard to the form itself and how it has been studied. It then goes on to present a new way of thinking about animated documentary, in terms of the way the animation functions in the texts by asking what the animation does that the live-action alternative could not. Three functions are suggested: mimetic substitution, non-mimetic substitution and evocation. The author suggests that, by thinking about animated documentary in this way, we can see how animation has broadened and deepened documentary’s epistemological project by opening it up to subject matters that previously eluded live-action film.
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Van Opdenbosch, Paul M. "Towards a Conceptual Framework for Abstracted Animation Derived from Motion Captured Movements." Animation 17, no. 2 (2022): 244–61. http://dx.doi.org/10.1177/17468477221102499.
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Outside the realm of feature films, smaller creative collectives and individual animators are exploring the creative applications of motion capture data to develop compelling and unique abstract animated short films. However, despite an increasing number of examples, there has been little detailed documentation of this practice and the processes involved in this format of animation production. More specifically, there has been little analysis of the key considerations and issues that might confront practitioners when integrating motion capture movement data into their abstract animation practice. As such, a more developed understanding of approaches to incorporating motion capture technologies into the field of abstract animation is called for. This study emerges at the intersection of two key areas of knowledge: abstract animation and computational generative art. The outcomes of this study contribute to building a better understanding of abstract animation practice by exploring and documenting possible strategies and approaches for generating elements that compose abstract animated short films from captured dance movements. This article reveals a possible framework for this type of practice and outlines five key considerations: capture of human movement, retention of human form and movement, influence of the simulation, influence of the virtual environment and visual connection to practice, which should be taken into account by practitioners who use motion capture in the production of abstract animated short films.
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Jifeng, Huang, and Li Baochuan. "The Reconstructed History of the Foundation of the Chinese School of Animation: A Textual Criticism on the ‘Crow Incident’." Animation 18, no. 3 (2023): 257–72. http://dx.doi.org/10.1177/17468477231214095.
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The screening of colour cel animation Why Is the Crow Black at the 1956 Venice Film Festival was seen as a pivotal moment in Chinese animation history. It is recorded that Why Is the Crow Black was misidentified as a Soviet animation by international judges, which made this film an epic failure. Frustrated Chinese animators, led by Te Wei, reflected on the imitation of the Soviet styles and commenced the exploration of a Chinese style. This ultimately led to the foundation of the Chinese School of Animation, marked by the release of Te Wei’s film The Conceited General in 1956. However, many of the widely believed ‘facts’ in this narrative are false. There is no evidence of an actual award, nor of the mis-identification of Why Is the Crow Black. A series of false assumptions have converged to form an entirely mistaken narrative of causality that the Crow’s reception transformed the production of the General. This narrative has become ingrained in Chinese animation historiography, and the doubters remain marginal. This article argues that the ‘Crow Incident’ was a 1980s fabrication, arising from transcultural misunderstandings, translation errors, and perhaps even deliberately misleading assertions. The alleged Crow Incident has been used to explain and justify the urgency and necessity of exploring the Chinese minzu style in the 1950s, yet it devalues the subjectivity, initiative and self-awareness of Chinese animators.
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Geal, Robert. "Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis." Animation 13, no. 1 (2018): 69–84. http://dx.doi.org/10.1177/1746847717752588.
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This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in three-dimensional sculpture, or by giving the impression of animating the inanimate in two-dimensional film. Both media can generate artworks that directly comment on these processes by using narratives about the creative act which not only produce the illusion of life, but which produce diegetically real life itself. Such artworks are intensely reflexive, and engage with one another in an intertextual manner. The article traces this process from the pre-historic and early historic religious, mythic and philosophical meditations which structure ideas about mimetic representations of life, via Classical and Early Modern sculpture, through a radical proto-feminist revision crystallizing around the monstrous consequences of the transgression in Mary Shelley’s Frankenstein, and finally into film and more specifically animation. The article culminates with a relatively detailed account of these processes in the Toy Story franchise, which is a heightened example of how animation can stage a narrative in which ostensibly inanimate sculpted toys move of their own volition, and of how this double form of animation does this reflexively, by ontologically performing the toys’ animating act. The animated films analysed also engage with the transgressive and monstrous consequences of this double form of animation, which derive from the intertextual life of those narratives that challenge God’s prohibition on mimesis.